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Dubspot is a Global Leader in Electronic Music Education.Thu, 08 Dec 2016 19:44:37 +0000en-UShourly1http://wordpress.org/?v=3.5.1DJ Tips: Transitioning From Vinyl to Digital DJ Setupshttp://blog.dubspot.com/going-digital-5-tips-to-help-you-make-the-transition-enhance-your-dj-performance/
http://blog.dubspot.com/going-digital-5-tips-to-help-you-make-the-transition-enhance-your-dj-performance/#commentsWed, 19 Oct 2016 14:33:03 +0000Michael Walshhttp://blog.dubspot.com/?p=35391Making the switch from turntables to software for DJ performances? Here are five tips that can help you make the transition with ease.

]]>Making the switch from turntables to software for DJ performances? Here are five tips that can help you make the transition with ease.

Intuitive Physical Control

Ditch the mouse or trackpad when performing with a laptop. It’s much more intuitive and a lot more fun interacting with physical controls. There are several types of DJ controllers and interfaces on the market these days that offer the amount of control and performance features you may need. You can go with something elaborate like Native Instruments’ flagship all-in-one S8 controller for TRAKTOR PRO, or something more portable and affordable like the TRAKTOR KONTROL D2, Numark’s Mixtrack Pro III, Pioneer’s DJ DDJ-SB2, and several others. Often, simpler is better in most cases. However, DJs who scratch as part of their performance will want to look at the higher-end units that offer precision touch controls with low latency.

Proper Audio Interface

Whether you’re performing with turntables or a digital DJ system, cue monitoring is essential for beatmatching the next track. When making the transition from using turntables and a mixer to a digital DJ system, it’s important to realize that your setup will require an audio interface or audio routing capabilities to monitor your mixes properly. For example, if you want to plug into a standard club mixer, you’ll need at least two stereo outputs for two decks in addition to any other outputs you may need for additional gear. If you want to bypass the club mixer, it’s also possible to monitor through your laptop’s built-in sound card, as long as it supports headphone monitoring.

Increasingly, many of the latest digital DJ gear comes equipped with a sound card built-in, so check before you buy. If you have a DJ controller that doesn’t have a built-in card or if the sound quality is poor, you’ll most certainly need to purchase an audio interface. Furthermore, you may also want the flexibility that an audio interface offers you for expanding your setup in the future.

Organize Your Music Library

Organizing and managing your digital media is essential for several reasons. We can not stress enough how crucial it is to have a well-organized music library. Organizing your music improves workflow, helps keep you engaged with your audience and focused on your set, and most importantly helps avoid from scrolling through hundreds of songs during a performance. It’s recommended to use a separate program to organize your music. Keeping your DJ software separate from your music library software helps avoid crashes and more importantly allows you to manage massive amounts of music. Many DJs often use iTunes because it integrates seamlessly with popular DJ software such as TRAKTOR PRO and Serato. Think of iTunes as your shelves full of vinyl and your DJ software as your crates of music you bring along to gigs. It is also wise to create playlists with about twice the number of tunes you think you’ll need for any given event. There is no need to bring your whole music collection to a gig. Spend time on your playlists and organize your music by genre, bpm, key, date of release, artist, title, and any other details such as cover art that will help you quickly identify the tune you’re looking to cue up next. Try to get in the habit of knowing your audience and bringing music that suits that audience as well.

Take Notes

In addition to tagging and organizing your music collection, it is also common practice to take notes about your music and how you plan to perform with it. Use the comments or description field in your music software to your advantage. For example, try using the ‘Comments’ field in iTunes or in TRAKTOR PRO to add additional information that will help make your tunes more searchable such as ‘Summer Music’ or ‘Late Night Music,’ etc. You could even list other tunes that a certain tune mixes well with. Keeping a physical notebook is very handy as well for remembering what tunes mix better together or any other details about a mix that you might otherwise forget during a performance. DJs that perform with vinyl often stack records aside or write notes on the label to help them make decisions faster during a performance. With digital files, these details sometimes get lost in the moment. Therefore, a notebook and pen next to the DJ booth are valuable tools for building sets that go deeper than a playlist of this month’s favorites.

Create a Practice Space

Most great DJ performances happen while standing up, so it seems logical that your mixes, track selection, and overall mood will be different when you sit at a desk to program a mix or set. If you come from a background DJing with vinyl or CDs, it can be especially frustrating to go from a physical booth setup to a laptop on your desk. The solution, make a DJ booth for your laptop. By creating a space where you can stand up and control the mix, you’ll feel much closer to the music. Sitting down creates an entirely different vibe – be aware of the difference.

The definition of DJing has changed dramatically in the last decade. Laptops, controllers, and software have emerged alongside traditional turntables and CDJs, smashing the barrier to entry. In today’s digital age, anyone can become a DJ. To reflect this renaissance, Dubspot has created the DJing with Traktor Program. In both our physical and online schools, students will learn how to DJ entirely with Traktor’s cutting-edge technology. An emphasis will be placed on the concepts of DJing rather than simply learning how to use the software.

About This Program

Starting with a historical overview, students will learn the fundamental concepts of DJing via Traktor’s intuitive interface. They will then delve into the vast array of possibilities offered by this groundbreaking software, presenting their work along the way. Students will leave with finished DJ mixes, a thorough understanding of DJing with Traktor, and a solid skill set ready for further development.

What’s Included

DJing with Traktor Level 1: Introduction to DJing

DJing with Traktor Level 2: Phrase Mixing

DJing with Traktor Level 3: Beyond The Beatmatch

Additional Information

Visit the DJing with Traktor course page for detailed information on this programhere.

In this video, DJ Spictakular gives us a lesson on trick mixing and demonstrates a common technique called ‘Double Ups.’ Learn how to master this method off doubling various sounds from identical records to add complexity to your sets. Spictakular also offers several tips and tricks for working the decks and crossfader, hand placement, cueing up records, and several other ways that you can utilize the double up technique in your live performances.

About DJ Spictakular

DJ Spictakular is an original member of the Allies Crew, comprised of A-Trak, J-Smoke, Craze, Clever, Infamous, and Develop. Spictakular made a name for himself as a DJ with a charismatic stage presence, well-composed routines, and precise technical control.

His routines emphasize multiple aspects of DJ performance including beat juggling, scratching, body tricks, and mixing. He has won numerous individual battle titles over the course of his career, including being the Philadelphia Regional DMC Champion as well as the runner-up in the US DMC Finals in 1999. He also helped lead the Allies to win the 1999 ITF World Team Championship. In addition, the Allies have won over 14 world championships together, more than any other DJ crew in the world. Spictakular has also appeared with the Allies on Fox, NBC, CNN, MTV, VH1, and BET.

Today, Spictakular stays busy teaching the art of DJing here at Dubspot. He’s also a busy producer, with credits including tracks with Lil Wayne, D-Block, and Immortal Technique.

Immerse yourself in the complete art of DJing: from the fundamentals of beatmatching and mixing to using effects and programming extended club sets. Whether you’re a beginner wanting to learn fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing with both Serato Scratch Live and Traktor Scratch Pro.

Our instructors teach you the necessary techniques and draw on their vast collective experience to give you insight into the mindset, workflow, and art of DJing. Graduates of the DJ Extensive Program will have an opportunity to perform at an event in a New York City venue, organized and promoted by Dubspot together with you and your fellow students. At Dubspot, we want you to do more than just learn. We want you to be great at doing what you love. Let us help you get there!

What’s Included

DJ Level 1: Rookie Sessions | Essentials I

DJ Level 2: Phrase Mixing | Essentials II

DJ Level 3: Beyond The Blend | Intermediate Skills

DJ Level 4: Preparation | DJ Psychology

DJ Level 5: Classroom to the Club | Advanced Techniques I

DJ Level 6: Club to the World | Advanced Techniques II

Additional Information

Visit the DJ course page for detailed information on this programhere.

]]>Ten music industry veterans drop some knowledge about how they approach remixing in this quick tips guide.

Remixing has taken on a life of its own in recent years as music software becomes affordable and methods of sharing digital content continue to evolve. For some, this new age of technology has allowed otherwise unknown artists to build a career in music. On the other end of the spectrum, anyone with a computer and some production software can try their hand at a remix to learn how it all works. The remix has become a doorway to understanding music for many producers, so we asked industry veterans to give some tips on how to approach working with someone else’s music.

Professor Nalepa

Identify a key element from the original song that you can work with. As you develop it, remember to make sure that your remix still fits in with the overall sound you have developed as an artist. When you are working with other people’s material, it is easy to go down a path and create something that doesn’t sound anything like your own original music. This can be confusing for your fans. However it can also be a positive thing if it leads to growth or a new direction for you as an artist. That is your call to make. At the end of the day, it is best for your musical output to have some thread that ties it all together. Remember, they asked you to do a remix because they like your sound and your style.

Thavius Beck

Keep in mind the energy and arrangement of the original song, but also don’t lose sight of the purpose of your remix. Do you intend to make the track more DJ friendly? Do you want to make a beautiful song sound dark and menacing? Do you have an acapella at 90bpm that you want to make a dubstep remix with? If so, are you gonna speed the vocals up or make them halftime and get creative with the arrangement? Ultimately, those decisions (which should probably be made before you start) will give you a solid direction to head in and allow you to focus on making what you envision instead of wondering what you can contribute to the song.

Evan Sutton

Consider your audience. When I’m doing a remix, I think about where it’s going to end up: A remix competition, the original artist’s record, my live set, etc. Also, consider who’s paying you. If you’ve been hired by a pop artist’s manager or label, make sure to flatter the artist. If it’s a friend or colleague, do something you think will get their attention, and add your own touch that will let them know you got really intimate with their ideas.

Rx

Take all the stems and listen to them individually. Find the ones that you identify with the most, then delete the others. Reduce it to the most unique stems, then build from there in your own style. If you’re making a club remix rather than home listening, make your remix a different energy level than the others (i.e. if the original is high energy, make your mellow or medium energy, and vice versa.)

Heinrich Zwahlen

If you have to sync up live production parts such as an acapella in Ableton Live, use multi-clip warping by lining up the acapella with the original vocal version first and then set the warp markers there to the drums. Warping acapellas by themselves is much harder since you can’t get any accurate timing information and that will leave up much to your interpretation and decision making. Whereas in the original vocal version, you can always warp to the drums, and then you won’t have any problems with the vocalist later regarding vocal phrases not sitting in the intended rhythmic pocket.

Matt Shadetek

Use a tuner plugin or pitch tracker to determine the key of the original song. Mixed in Key also works for this. Make sure that you are writing in either the original key or a related key. For example, if the song is in C Major then A minor would be a possible alternative. Also, consider who else is submitting remixes and make sure that the direction you go in will complement the other people who are creating remixes. However, if it’s a popular song, review the existing remixes to make sure that you have something unique to offer and aren’t making a remix similar to something that’s already out there.

Matt Cellitti

Remixing is probably one of my favorite things to do because it forces you to write and immediately takes you out of your comfort zone. My only advice would be to listen to the original track as little as possible. Barely get an idea of what the original track is all about and take as much creative freedom to reinterpret it as you would have written it for yourself.

Pat Cupo

When doing a remix, and you are lucky enough to get all of the stems from the original artist, challenge yourself and make a new piece of music using only the original stems. Go ahead and utilize all of the slicing and sampling techniques you know, but stick to the original stems as your main source of material. This limitation will show you where you’re production and sound design skills are at. If you have one or two signature sounds that you use on every track you write so the world knows it’s you, that’s cool but don’t go overboard. We want to hear you re-imagining the original track, rather than just hearing, well, you.

Raz Mesinai

With remixes, the best case scenario is when the artist who approaches you to do the remix appreciates your sound and expects you to give it your own unique voice. The worst case is when the artist initially made something unfinished and are approaching you, without saying it, in hopes that you will finish it for them. Don’t expect any residuals after doing a remix. It’s not about that. Either the money is good, or the people are good. Either way, it comes down to you putting your own unique voice into the remix, and you just can’t do that until you’ve developed your own sound, which takes a long time and a lot of hard work. Don’t like it? Then find another line of work.

Martín Perna

Get your business straight: Make sure that there is some sort of written agreement with you and the client so that delivery dates, format, payment (or other reciprocal payment) are all spelled out very clearly. Read up on any additional legal issues involving remixes, rights given to producers, and other matters that are relevant to the song and the remix agreement. Make sure to have all of your publishing and writing together and be prepared to fight or negotiate for any songwriter or publishing that you may be owed. Finally, make sure that you get multiple copies of the final remix (assuming it comes out) and physical copies as well. There’s nothing lamer than having to spend your own money to buy a copy music that you worked on.

At Dubspot our world-class instructors provide the most complete and cutting-edge Ableton Live learning experience. The Ableton Live Producer Certificate Program is the flagship of our music training. After completing this program, you will leave with a portfolio of original tracks, a remix entered in an active contest, a scored commercial to widen your scope, and the Dubspot Producer’s Certificate in Ableton Live.

About This Program

This program is about learning Ableton Live by going through the entire process of being an artist, by developing your own sound through a series of sketches and experimentation. You will also learn the ins and outs of this powerful software through a series of exercises designed to help you master the steps involved in producing your own music. After a level of getting familiar with the tools that Ableton has to offer, you will then develop your sonic ideas into full-length tracks. You will be exposed to a variety of approaches to arrangement and composition, storytelling techniques, ways of creating tension and drama in your music. At the end of the day, it is the sum total of your choices as an artist that define your sound, and levels 2 – 6 will give you the experience of actually completing tracks to add to your portfolio.

What’s Included

Ableton Live Level 1: Beats, Sketches, and Ideas

Ableton Live Level 2: Analyze, Deconstruct, Recompose, and Assemble

Ableton Live Level 3: Synthesis and Original Sound Creation

Ableton Live Level 4: Advanced Sound Creation

Ableton Live Level 5: Advanced Effect Processing

Ableton Live Level 6: Going Global with your Music

Additional Information

Visit the Ableton Live course page for detailed information on this programhere.If you have questions, please call 877.DUBSPOT or send us a message.

]]>This episode of Dubspot Radio welcomes an impressive live vinyl mix from hip hop veteran Amir Abdullah, founder of 180-Proof Records and one of the original kings of beat diggin’.

Spending a lifetime of collecting vinyl, Amir has unearthed records far and wide, pulling from the best in jazz, funk, soul, jazz, R&B, Latin, reggae, and hip-hop. As part of the illustrious beat digging duo Kon & Amir, the duo have salvaged some of the greatest music you’ve never heard gaining legendary status worldwide from some of the most beloved beat diggers, DJs, and producers in the game.

This podcast brings the music directly to the people in true Amir fashion. While listening be sure to check out our interview, in which Amir talked about growing up in a musical household in Boston, moving to New York and joining the ‘I Love Vinyl‘ collective, touring Europe and Asia with his music partner Kon, and much more.

DJ Amir Interview

Tell us a little about yourself.

My name is Amir Abdullah a.k.a. DJ Amir, originally from Boston, but I’ve been in New York for seventeen years. I grew up in a musical household. My father was a Jazz record collector, and my mother listened to gospel and soul. My siblings listened to jazz and disco. These are some of the things that influenced me to do what I do today, which is collecting records and DJing.

How long have you been collecting records, DJing, and working in the music industry?

I have been collecting records for thirty years and DJing for ten. I’ve also worked in the music industry as an executive for fifteen years. I’ve been able to see both sides of the music. So music is my life.

Tell us about your mix and where it was recorded.

I recorded the mix live at a party called ‘I Love Vinyl’ that we have in Brooklyn at Southpaw and sometimes at Manhattan’s Le Poisson Rouge.

What made you focus on that specific sound?

I chose that particular mix of songs because at every ‘I Love Vinyl,’ I try to play different stuff. I try not to play the same stuff. So at that time, in October I believe, it was still warm in New York, so I was playing warm type of music. Since I was going first, I wanted to warm up the party with some soulful music to get people dancing. I played a lot of soulful boogie music. It still felt like summertime, just the tail end of summer.

Tell us about ‘I Love Vinyl.’

The concept was created by this guy DJ Scribe. He came to me and four other DJs and said: “Hey, I have the idea of doing this all vinyl party.” I was a little hesitant at first because there are six of us, and I wondered how we were going to pull off a party with six people. Also, having to drag vinyl crates along was crazy since there heavy and can be worn down. But it just worked.

Before ‘I Love Vinyl,’ what other parties were you playing?

I’ve played all kinds of parties and have traveled overseas a lot. I’ve been to Asia four times to DJ, and Europe almost thirty times. I’ve played everything from festivals to small and big club venues. I like to play really deep disco, funk, soul, and Latin music that is just timeless, and feels good even if you don’t know who it is.

How do you balance what the crowd wants to hear when you play out versus what you want to play?

Well, I’ve been fortunate enough that I’ve not been in too many situations where I had to play something that I don’t want to play. For the most part, when I’m playing in a club, I’m playing what I want to hear. I have a good feeling or a good intuition of what people like or what will make people move. Even if you don’t realize it, it gets you into a mood to dance and have a good time. I’ve never really had to deal with people coming up to me like “Hey, can you play Lady Gaga?” I’ve had that happen to me before and I just politely say it’s not that type of party and I show them the flyer that is just soulful disco or whatever. Usually, people will understand, but you know obviously, sometimes you have people that just are not hearing that, and they just want to hear what they hear on the radio. I have to say go home because you can hear that stuff for free on the radio. But I’ve been fortunate enough to not have to deal with that too much.

How do you introduce crowds to new types of music?

You try to mix it in with well-known records. You can’t just play a party with stuff the audience have never heard. You start with something familiar, and then you slip in a song they’ve never heard, but it’s in the same kind of mood, the same kind of key, and it’s still danceable. Most people will respond to that. They’re going to respond well to the music that’s moving them. You see it in people’s faces like “I don’t know what this is” but their body is still moving. When it’s bad, then they’re looking up like what is this, and they’ve stopped dancing.

Besides your traditional DJ setup, do you use anything else when playing out?

I use two turntables and a mixer. When I’m not playing vinyl, then I’m using Serato. That’s pretty much it.

How do you think the concept of DJing has changed over the past ten years?

Definitely with the introduction of Serato and the greater influence of CDJs, DJing has changed a great deal in the sense that technology provides you with more access to your collection of music to play out. You can be more well rounded without having to carry tons of crates of records to gigs. Also, you can play a lot of stuff that was never on vinyl at all. You can play a lot of remixes and edits that you can do yourself or that someone else has done that you know, so that opens up a lot of things. On the flip side, I think that because of the technology, it gives you easier access to music, and it feeds the population who think it’s easy to DJ. A lot of us make it look easy, but there’s a lot of hard work to it. It’s not an easy thing to do. It’s an actual job. If you’re a serious DJ, you take it seriously as a job that you go to 9 to 5, and you try to do the best that you can. I think with the advent of technology everybody and their mother thinks they can DJ now, and it wasn’t always like that. Ten years ago, there were still people that wanted to DJ, but you had to have a lot of character to do the hard work of learning how to DJ because it wasn’t easy. There was at the least CDJs, but when people were rocking CDJs, it still was something that very few people were using other than house DJs. Most people were still dragging their vinyl to gigs. It’s definitely changed. Sometimes technology can make things better, but sometimes it can make things a little worse.

Where do you go to find records, and what do you look for?

I look for it all. I look for new and old records. I’ve been collecting for thirty years, and I definitely look for records for specific reasons, either records to DJ out or records to put on the next compilation. I also look for jazz records that I don’t have for listening to at home and add to the collection. A lot of times I’m looking for records that I’ve never seen before and have never heard of the artist or the label. It could be a genre of music I know nothing about, or could be music from other countries like funk beats from Indonesia or something like that. I always wanted to keep an open mind with music, and I don’t want to have a prejudice to any type of music.

What are some of your most treasured finds, and recent records that you can’t get out of your head or can’t stop playing?

Well, there are a lot of those. I used to work at a record store called A1 Records, and there are just massive amounts of records in that store. Sometimes, I just can’t keep up. One day I was working, and there was a record just laying on the ground. It was not in a sleeve or in a jacket, and a few people that worked there were so busy that they were stepping on the record. I happened to pick the record up, and it was one of the rarest disco 12” records out there! I cleaned it off, and it wasn’t too badly scratched so I bought it from the store for like a dollar because nobody there knew it so they were like you can have it. That was a gold find. I love that song and always will. I won’t play it out too much because I don’t want to ruin it or lose it, so I saved it as a file on my computer. I can now play it out of Serato as well. There are so many records like that that I’ve gotten for free or close to being free just because not everyone is going to know everything about records. As much as you think you know about records, the more you learn about records, and the more you learn to know nothing. It’s just a continuous process that you continue to learn.

Tell us about a record that you heard and didn’t like the first time you heard it, but eventually grew on you?

Yeah, I go through that a lot. I might have bought a record like ten years ago, and listened to it thinking “Eh, I don’t like that record.” Then you listen to it now, and you’re like “Wow, what was I thinking, this track is incredible!” It’s all because what happens is your musical tastes mature. Like how you grow as an adult in life, and how some things that you didn’t like ten years ago but now your like “Oh you know what, it’s actually not that bad.” It’s the same thing with music; your music tastes change. You may have never been into disco at a younger age, but now you might be into disco or vice versa. It’s all about your musical tastes changing, and you evolving as a person. Your music taste changes and evolves as well.

Are you surprised by any particular sound you’re into right now?

Yes, ten years ago I wasn’t really into Brazilian music, and I didn’t care for it but over the past couple of years, I’ve really gotten into Brazilian music. I feel kind of bad because I got into it a little later than I should have been. I probably could have been playing Brazilian records back then, but I didn’t really care because I was all into either disco or breaks or hip hop or something else. That’s why you gotta be able to keep an open mind because you could be missing out on something really precious in music.

Any advice for up and coming DJs?

My partner Khan and I have been very blessed for the last fifteen years doing what we love and that’s to put out music whether it’s from a mixtape, album, compilation album, 12” edit, a remix 12”, touring the world, going on Giles Peterson’s radio show or touring with Giles Peterson. Things are great to me. It’s a blessing that I get to travel the world free; that’s an amazing thing, and I would encourage people that are really into music whether it be production wise or DJing to really follow your passion because it can pay off in the long run. You just got to have the strength and the passion to follow through on them.

Like I said you have to look at it in the long term when you practice your craft and really take it seriously and try not to follow everybody else. Try to blaze your own trail so that you can find that niche for yourself or find a way for yourself to be successful. Being successful sometimes equals a lot of heartbreak. They’re a lot of times where you’re going to be tested and you might want to give up but you can’t, you have to keep with it if it’s something you truly love. You got to have the strength and the character to get through these hard times. It is hard for everybody right now, but hard times bring out the most creative people and the creative juices in a lot of people to make great things that are culturally significant or add on to culture in a significant and positive way.

About DJ Amir

From an early age, Amir’s ears were saturated with the sounds of jazz, gospel, soul, and disco coming from his parents’ stereo. When he got old enough, Amir escaped into the world of hip -op. But instead of the clean break he had intended, he discovered his parents’ music sampled in the music of his peers. Intrigued, Amir found himself tracing ties inside the music, soon tirelessly.

Amir has been a man on a mission ever since. He’s braved strange and dangerous locations for the rarest wax, dealt with the shadiest characters and collectors, and had his knowledge called upon by some of the biggest names in hip-hop. It was kismet that Amir would meet fellow crate digger and kindred spirit Kon in 1996, and the two became fast friends and collaborators. Beginning with the esteemed underground On Track mixtape series, Kon & Amir have released ten compilations, including four volumes of Off Track, the follow-up to the On Track series. Shady Records, Pete Rock, Diamond D, and Capitol Records (to name a few) have called upon Kon & Amir’s expertise. And Amir’s own client list has included Dilla, Madlib, Big L, Common, Dilated Peoples, Mandrill, The Mizell Brothers, Lyman Woodard and Dennis Coffey.

It was also during the 90s that Amir began working at labels. Starting out in an entry-level position at Fat Beats, Amir quickly rose through the ranks to become VP of Sales. Since then, Amir has worked as an A&R for Rapster/!K7 Records, Sales Manager for ABB Records, and Label Manager of Wax Poetics Records. Recently, he produced and curated the Strata Records exhibit for the Scion IQ Museum, and is coordinating the reissue of the two ultra-rare Newban albums on BBE, a project he brought to the label. And he is starting his own label, 180 Proof.

As half of Kon & Amir, and on his own, Amir has toured the world, building an underground following into a worldwide network of fanatical fans. In a world where anybody with a laptop, or even an iPod, fancies themselves a DJ, Amir is here to keep the true tradition of the DJ alive.

Immerse yourself in the complete art of DJing: from the fundamentals of beatmatching and mixing to using effects and programming extended club sets. Whether you’re a beginner wanting to learn fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing with both Serato Scratch Live and Traktor Scratch Pro.

Our instructors teach you the necessary techniques and draw on their vast collective experience to give you insight into the mindset, workflow, and art of DJing. Graduates of the DJ Extensive Program will have an opportunity to perform at an event in a New York City venue, organized and promoted by Dubspot together with you and your fellow students. At Dubspot, we want you to do more than just learn. We want you to be great at doing what you love. Let us help you get there!

What’s Included

DJ Level 1: Rookie Sessions | Essentials I

DJ Level 2: Phrase Mixing | Essentials II

DJ Level 3: Beyond The Blend | Intermediate Skills

DJ Level 4: Preparation | DJ Psychology

DJ Level 5: Classroom to the Club | Advanced Techniques I

DJ Level 6: Club to the World | Advanced Techniques II

Additional Information

Visit the DJ course page for detailed information on this programhere.

]]>As DJ technology continues to evolve, we continue to learn new ways to perform. We reached out to our talented instructors and other industry professionals to ask them what makes a great DJ?

DJ Shiftee

A valuable DJ tip is knowing how to organize your music before a gig. Here is how I like to organize my music in Traktor.

1. Make a playlist folder for the gig, and make a single playlist in the folder called ALL. For Serato users (I’m a Traktor man), just make one gig crate and then the equivalent substrates.

2. Make a single playlist of all the songs you might want to play. Scour your other playlists and past sets to make a single, all-powerful gig playlist. Make sure you have enough tracks, but also that everything is really something you want to play. For an hour set, I typically have 100-150 songs in the list.

3. Make playlists (substrates) in your gig folder of all the different types of songs in the ALL Playlist. That is, what are all the different types of tracks that you’d like in your set? Create playlists based on feeling, energy, genre, etc.

4. Sort the songs from your ALL playlist, and only your ALL playlist, into your new folder playlist. Feel free to place a single song in more than one playlist. I love this method because it focuses not only the songs you want to play but also gives you easy access to finding the right song for the right moment. Maybe I’m just a big moron, but in the past, I’d have gig playlists and then huge genre playlists. The result was inefficiency in finding the right song to match the idea in my head. In short, you are doing normal music organization on a micro level with only the tracks you know you want to play.

Justin James

Preparation, to me, is the most integral aspect of DJing. This preparation I require comes in two parts; music preparation and technology preparation.

Knowing the music and having a rough idea of what tunes you plan to play will allow you to stay focused on the crowd and be comfortable behind the decks.

Having an elaborate setup is a blessing and a curse for me. It allows me to have a great deal of control over what is heard but also takes a fair amount of time to set up. Taking the time to prepare in soundcheck or setup on a second mixer (if the booth permits) is ideal to take away the stress of changeover right before your set.

For the list part, I’m a fairly spontaneous person. However, as a professional I feel is important to be somewhat proactive as a DJ to reward you listeners and yourself with the best set you can provide through some simple preparation.

Mike Huckaby

Study the crowd like never before. At every gig you play, there are usually 1-3 people in the crowd or on the dancefloor that you need to pay attention to. These are the key individuals who set the tone of the night. They are usually the ones that set it off for everyone else. Everyone else is paying attention to them, but they would never admit it. These key people usually set the comfort zone and allow others to express themselves in ways that they would never do otherwise. They are also the first ones to dance, set the pace, and the tone of the night. If you study these key individuals during your set and push their buttons, it will have a positive effect on you, others, and the whole night. It works every time.

DJ Endo

Use Traktor’s Sample Decks to create loops of the best parts of your tracks. Before sampling the track, make sure that the track is perfectly beat gridded to a metronome, and use the Sample Decks to create loops that you would want to use in a live performance. To do this, create a loop in a Track Deck, then click and drag from the deck header to a Sample Deck slot. To save the sample you will need to un-mute the sample slot and either let the sample play all the way through three times, or you can just turn the sample slots play button on and off three times really fast. The loop will then be saved under Track Collection – All Samples. Once you have a bunch of loops saved, you can additionally rename the loops by clicking on the track name in the browser. I also like to keep my loops named under 15 characters long.

Adam Freeland

Turn your volume down. Most sound systems have a compressor on the front of the house anyway, so cranking it louder and into the red on the mixer isn’t going to do anything but make everything sound worse. Louder does not necessarily equal better. Keep your volume at a reasonable level and give the front of house sound guy some headroom and he’ll make sure you sound good. Give him a distorted signal and there’s nothing he can do except turn you down.

Alex Burkat

Exercise your patience as DJ and the audience will follow. Don’t mix too fast unless the crowd demands it. If it’s a packed room and they’re ready, go all in, but if they’re still warming up, build their anticipation for the rest of the night – you want them to be there all night, right?

JP Solis

Learn to pace yourself; magic happens when it’s not forced. Try playing three of your favorite records in a row before you “go in” on the bangers. You will know when you’ve locked into a groove. It’s a feeling you’re after. Everything around you will blur, and it’s just you and the tunes. At that point, let the music tell you where to go, what to play next, how long to play it, how fast or slow it should be, how loud it should be, which FX to use, and how it should be EQ’d.

Matt Cellitti

Learn to produce. Unless you have some exemplary skill you can showcase such as DMC-style scratching, controllerism tricks, or amazing audio/visual presentation, then producing your own music in conjunction with DJing is the best way to make a name for yourself.

DJ Kiva

Don’t let your computer go to sleep while DJing. If your computer puts the display or hard drive to sleep during the middle of a performance, it will make the audio stutter, drop out, or freeze. Before you perform, you can change your system preferences to make sure this won’t happen. On a Mac, Open ‘System Preferences’ and go to the ‘Energy Saver’ settings. Set ‘Computer Sleep’ and ‘Display Sleep’ to ‘Never.’ Also, uncheck the box by the option to ‘Put the hard disk to sleep when possible.’ After the show, you can change the energy settings back to its original settings to preserve your computer’s lifespan during day to day use.

Martín Perna

I use iTunes extensively to edit tags and find ways to classify the music through creating different additional categories and also to make sure my genre/sub-genre listings are all uniform and together. In iTunes also I worked out a more detailed system of playlists starting with larger general ones, then working with that list to create more specific sub-folders. For instance, a folder called Latin America, then subfolders based on countries: Puerto Rico, Cuba, NYC, DR, Colombia, etc. In addition, I’ll organize that list by genres and artists. This helps me create mixes that have more common narratives, and when I want to find something I have it at my fingertips along with other songs that share some common characteristic or criteria. This process of filing and categorization has helped me also become better at keeping my vinyl shelves organized and has given me new ways of thinking about the music and what goes together. All of this has taken a lot of time. I’ve been using iTunes for over eight years and am just getting around to making sense of it. It didn’t happen overnight, but it’s an ongoing process and a rewarding one.

The definition of DJing has changed dramatically in the last decade. Laptops, controllers, and software have emerged alongside traditional turntables and CDJs, smashing the barrier to entry. In today’s digital age, anyone can become a DJ. To reflect this renaissance, Dubspot has created the DJing with Traktor Program. In both our physical and online schools, students will learn how to DJ entirely with Traktor’s cutting-edge technology. An emphasis will be placed on the concepts of DJing rather than simply learning how to use the software.

About This Program

Starting with a historical overview, students will learn the fundamental concepts of DJing via Traktor’s intuitive interface. They will then delve into the vast array of possibilities offered by this groundbreaking software, presenting their work along the way. Students will leave with finished DJ mixes, a thorough understanding of DJing with Traktor, and a solid skill set ready for further development.

What’s Included

DJing with Traktor Level 1: Introduction to DJing

DJing with Traktor Level 2: Phrase Mixing

DJing with Traktor Level 3: Beyond The Beatmatch

Additional Information

Visit the DJing with Traktor course page for detailed information on this programhere.

]]>Dubspot DJ Instructor and DMC World Champion, Shiftee brings his unique blend of turntablism, music technology, and exquisite musical curation to share some fundamental mix techniques in this three-part video series focusing on Digital DJing with Traktor Pro.

In part one of this three-part video series focusing on Digital DJing with Traktor Pro, Dubspot Instructor, and DMC World Champ DJ Shiftee demonstrates a live performance routine using Native Instruments’ versatile TRAKTOR KONTROL S4 all-in-one 4-channel DJ system. Shiftee introduces the primary goal of our Digital DJing with Traktor Program at Dubspot and emphasizes how our talented instructors teach fundamental DJ techniques and concepts while exposing students to crucial party-rocking tips and tricks utilizing some of today’s most cutting-edge performance and DJ technology. Using the S4′s intuitive interface and TRAKTOR PRO 2 software, Shiftee performs a live edit of the classic hip hop track “The Choice Is Yours (Revisited)” by Black Sheep and seamlessly blends it into “Ain’t No Half Steppin’” by Big Daddy Kane.

In part two Shiftee breaks down his routine from part one and explains how he uses various controls on the TRAKTOR KONTROL S4 to create unique compositions. Learn how to use the S4′s Loop Recorder to build up multiple layers of sounds to form new loop combinations used to perform live remixes on the fly. Shiftee also demonstrates how he uses the Dry/Wet feature to mix from his live remix to the original track and how he uses the Undo/Redo feature to remove individual loop layers.

In part three Shiftee introduces us to one of the most fun features on the S4, the Sample Decks. Learn how to work with sound clips and various sample loops to add a new dimension to your mixes. Shiftee also shows us how to use the S4′s audio effects and live inputs to create your own loops and sonically transform them in creative ways.

The definition of DJing has changed dramatically in the last decade. Laptops, controllers, and software have emerged alongside traditional turntables and CDJs, smashing the barrier to entry. In today’s digital age, anyone can become a DJ. To reflect this renaissance, Dubspot has created the DJing with Traktor Program. In both our physical and online schools, students will learn how to DJ entirely with Traktor’s cutting-edge technology. An emphasis will be placed on the concepts of DJing rather than simply learning how to use the software.

About This Program

Starting with a historical overview, students will learn the fundamental concepts of DJing via Traktor’s intuitive interface. They will then delve into the vast array of possibilities offered by this groundbreaking software, presenting their work along the way. Students will leave with finished DJ mixes, a thorough understanding of DJing with Traktor, and a solid skill set ready for further development.

What’s Included

DJing with Traktor Level 1: Introduction to DJing

DJing with Traktor Level 2: Phrase Mixing

DJing with Traktor Level 3: Beyond The Beatmatch

Additional Information

Visit the DJing with Traktor course page for detailed information on this programhere.

Reigning DMC World Champion and Dubspot Instructor DJ Shiftee offers some invaluable tips and fundamental tricks when DJing. In this tutorial video, Shiftee demonstrates and explains the “Pushing and Pulling” technique used to correct the speed of record when beatmatching. Learn various methods of how to manually correct the speed of a record when cueing up two records for your next mix, so they play in sync.

Turntablism allows students to interact with music on a deeper level and completely reshape songs live rather than simply playing them. The skills you learn in this program will fortify your DJ arsenal.

About This Program

Turntablism is the art of manipulating turntables like an instrument. Starting with the fundamentals of “Scratching” and “Beat Juggling,” the program will focus on proper technique, optimal practice habits, creative exploration, group work, applications, and eventually full-blown turntablist sets.

What’s Included

Turntablism Level 1: Spice Foundations Part 1

Turntablism Level 2: Spice Foundations Part 2

Turntablism Level 3: Boot Camp

Turntablism Level 4: Mild | Improvisation & Teamwork

Turntablism Level 5: Medium | The Next Level

Turntablism Level 6: Hot | Building Routines

Additional Information

Visit the Turntablismcourse page for detailed information on this programhere.

]]>Once again we revisit one of our most popular discussions – the art of DJing. This time, we’re focusing on the warm-up set, with advice from some Dubspot friends and veteran professionals such as DJ Dan, Josh Wink, Mike Huckaby, Endo, Hector Romero, and DJ Shiftee.

As a rule before any gig, you should find out who is playing before and after you. In addition, always show up at least one hour early before your set. Doing so not only enables you to feel the vibe of the room but gives you an opportunity to make sure you do not repeat any tracks the previous DJ has played. Since you have an idea of what the DJ is playing before you, pick a great track to transition and leave the next DJ with a great starting place. Again, you will know what that DJ will be playing so you can choose something that will be easy for them to flow into. This approach is just common respect for the crowd and the next DJ. If you play an earlier set, make sure you play a set that is groovy and does not rinse the energy out of the room, especially when there is a headliner on after you. The key to a good DJ is knowing how to pace the energy of the night. I guarantee you will get way more compliments if you play appropriately to your time slot. The one mistake I see up and coming DJ’s do that is never cool is to bang the shit out of it before the headliner goes on – as if to impress the next DJ. That is not cool. If you really want to impress the next DJ and the crowd, play appropriately and sexy to let the night have a nice build. If you are in a headlining position, go crazy! Again, though, make sure you leave the next DJ with something they can flow out into. Lastly, be respectful of the space you are working in. Most booths are small, so have consideration for where the next DJ will be putting their gear. You can start moving your stuff a bit towards the last couple tracks in your set so the transition can be easier for them. Oh, and never play the headliner’s new big tune in your set. I know this seems like common sense, but you’d be surprised as to how many times I’ve seen this happen. - Dj Dan

I think that everybody who is a DJ needs to know how to be a warm up or opening DJ. It takes awareness and patience to do so. An opener DJ sets the mood of the venue, and this is SO important! A DJ is someone who entertains, educates, and creates aural atmospheres. I love opening, as I get to play deep and moody music, creating a special feeling that gradually builds. - Josh Wink

An opening DJ should always remember the role that has been delegated to them for the night. You are opening up for another DJ. Your role is to set the tone for the headlining DJ. Often, the opening DJ will try to outdo the headliner by playing strong cuts way too early in the night, and trying to get peak hour crowd responses. A good opening DJ will always remember the role they are playing within the night. The opening DJ should also be compatible to the headliner, and know his style of DJing as well. - Mike Huckaby

Being an opening DJ can be very tricky. It takes true skill and talent to be a good opener. You have to keep people dancing, but not too hard. You want to keep people going to the bar without clearing the floor. Playing to an empty room is also a skill. You also need to know when to pick things up as an opener. If you bore people with too much atmosphere, people might leave. As far as opening DJ etiquette goes, know what the person after you is going to play and build up to that. Also, keep your levels out of the red! If you have the mixer buried in the reds, the next DJ will not have enough headroom to mix with their levels. Opening up a night is a great opportunity to play those mood-setting musical records you wouldn’t get to play at peak time. - DJ Endo

Ah, the opening DJ set. To me, it seems like a lost art form. It is an art form because it takes a special kind of DJ to handle a crowd that comes early to the club and not bore them but yet not bang it out like it’s 3am. I feel that the opening DJ’s set is as crucial as the prime time set. In my opinion, you’re actually a good opening DJ if you can rock a 10pm-1am set and not really play any major hits! And it’s not impossible. There are loads of amazing tunes that work during those early hours; you just have to put the time in and find those gems that work. - Hector Romero

All’s fair in love and DJing until somebody feels like their toes are getting stepped on. That said, there are a couple of rules to abide by. Setting for an opener is akin to getting the energy of a room to simmer not boil. This is a different skill set than party rocking. You can’t drop ALL the fire right before the opener’s set by playing your best bangers and then handing it over to the next act. The other rule is that you can’t let your EGO get in the way. The folks that hired you are often business people – so think long-term. You are a walking business building relationships. Don’t do the headliner’s job if you want to get more work. - Dj Ceiba

If you were a person attending the event, what would YOU want to hear at that moment? Always keep the audience in mind because after all, neither you or the superstar DJ after you will be anywhere without them. Most of the time it’s just meeting people’s expectations, then surprising them. If it’s a Top 40 night, don’t play esoteric material, and if it’s a cutting edge party, don’t play obvious tracks the audience is sure to know. And please, please, PLEASE don’t “Madison Square Garden” as I like to call it, i.e. playing the most peak hour material of the evening to an unengaged, small audience without looking at them. Finally, people notice. Even if people are getting drinks or talking with their friends during your set, you can win them over if you read them well, pace yourself, and have just as great of time (if not better) than they are. Honestly, I love doing opening sets: less pressure and the world needs more awesome opening DJs that compliment the night. - Rx

Feel out the room and crowd and play something appropriate. Don’t over plan, and try not to stick to a pre-planned set that is not appropriate to what’s actually happening. Better yet, know what you’ve got as options to play and don’t plan at all! Don’t play banging shit to an empty dancefloor while people are still filing in and getting their drinks. It’s called the warm up slot for a reason. Know your role, fulfill it, and you’ll be invited back. - Matt Shadetek

Get set up right away and make sure everything is working smoothly before you get a drink. If it’s a paying gig, find out who’s paying you, how they’re paying you, and at what point in the evening you can expect to be paid. It might be up-front, or you might have to wait around until 4am. Know this in advance. Go to the bathroom before your set starts. There’s nothing worse for the headliner than DJing in a puddle of urine left behind by the opener. Know the music that you’ll be playing. Don’t try to make a bold statement just yet, especially if nobody is listening. Make sure before you start your set, that you know when you are on and off. If the following DJ is there, work out with him/her how the transitions should happen (both musically and technically). Bring extra music to play in case the later DJ is a no-show or starts late. Be conscious of your place and function in the movement of the evening and know your role, whether it is to provide background music, to warm up the crowd, or to create a context for the music that the later DJ(s) will be playing. - Martín Perna

I agree with everything everyone has said, BUT I still think it’s important for you as an opening DJ to try to stand out and make your mark on the night. If you don’t turn heads with your set, what was the point? Respect of the headliner is great, but ultimately you want more work, which comes through fans and the promoters remembering who you are after your set. Here are a few little suggestions to get into people’s heads:

Talk on the mic and say your name throughout your set. I call this “Castanza-ing” (shouts to people who get my specific Seinfeld reference).

Drop surprising songs WITHIN THE CONTEXT OF THE NIGHT. Play tracks that people will go “ohhhhh” too, but only within the style of the night and your role of the opener as described by everyone else. These can be throwback songs, silly songs, or songs that seem like they don’t belong in DJ sets.

Make little flashy routines (that work within the context of the night as already described).

Immerse yourself in the complete art of DJing: from the fundamentals of beatmatching and mixing to using effects and programming extended club sets. Whether you’re a beginner wanting to learn fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing with both Serato Scratch Live and Traktor Scratch Pro.

Our instructors teach you the necessary techniques and draw on their vast collective experience to give you insight into the mindset, workflow, and art of DJing. Graduates of the DJ Extensive Program will have an opportunity to perform at an event in a New York City venue, organized and promoted by Dubspot together with you and your fellow students. At Dubspot, we want you to do more than just learn. We want you to be great at doing what you love. Let us help you get there!

What’s Included

DJ Level 1: Rookie Sessions | Essentials I

DJ Level 2: Phrase Mixing | Essentials II

DJ Level 3: Beyond The Blend | Intermediate Skills

DJ Level 4: Preparation | DJ Psychology

DJ Level 5: Classroom to the Club | Advanced Techniques I

DJ Level 6: Club to the World | Advanced Techniques II

Additional Information

Visit the DJ course page for detailed information on this programhere.

]]>Mike Henderson aka ENDO, a veteran DJ, Co-Founder of AGNT and MIDI Monsters, TRAKTOR specialist for Native Instruments, and Instructor at Dubspot compares the key detection accuracy between Mixed In Key and Beatport.

Overview

Harmonic mixing is becoming an industry standard for professional DJs all over the world. It is an innovative way to mix tracks together that are in the same or related keys, resulting in better sounding DJ sets. Mixing harmonically compatible tracks makes it easier and more pleasing to perform long blends and mash-ups. The goal is to eliminate key clashes.

Mixed In Key

Harmonic mixing consists of two elements: knowing the key of every song that you play and knowing which keys are compatible. You can find the keys of your songs with a piano, a good ear, and a background in music theory. To save time, you can also use professional DJ software such as Mixed In Key. Mixed In Key is an innovative tool used to scan your MP3 and WAV files to show you the key of every song. The idea behind Mixed In Key is that it analyzes the harmonies and melodies of your music and then adds ID3 metadata to every track such as the musical key, bpm, track title, artist, and more. This information helps you choose tracks that are harmonically compatible with each other quickly, resulting in super-fluid mixing.

Many of the world’s top DJs use Mixed In Key. It works with Traktor, Serato, Pioneer CDJs, Virtual DJ, Ableton Live, and various other DJ apps. Check out my article on Harmonic Mixing to learn more about Mixed In Key and the concept of mixing harmonically here.

Beatport Key Detection

Beatport has become a widely used platform for downloading and listening to new and exclusive electronic dance music. The Beatport Pro online music store uses internal software to determine the key and bpm of tracks. You can also filter tracks, genres, and artist releases by musical key, allowing you to make purchase decisions based on your harmonic mixing needs.

Mixed In Key vs. Beatport

Both Mixed In Key and Beatport offer worthy harmonic key detection algorithms, but which one is better? I thought it would be a good time to do another harmonic mixing lab report DJ Endo style to see who has the best key detection algorithm on the market. You can see my previous lab report here.

In this comparison, I’ve taken 100 songs purchased from Beatport and manually found the key of each track using a piano. I then analyzed all the tracks with Mixed In Key and compared the results with Beatport’s key detection.

Just a little background on me: I’m classically trained and have been keying songs with a piano for several years. I’ve also been a hardcore beta tester for Mixed In Key since the beginning and have sent them thousands of tracks that I’ve keyed on the piano to help with their algorithm. The chart below displays the results for every track I keyed with the piano. The tracks that were incorrectly analyzed are highlighted in bold letters.

Mixed In Key Results

Mixed In Key = 81% Accurate

Out of 100 songs analyzed in Mixed In Key, 81 were correctly analyzed. Out of the songs that were incorrectly analyzed, 10 of them were listed either a fifth below or above the correct key. When looking at the Mixed In Key Camelot Wheel, a fifth is only one step away. For example, a track that should be 8A was analyzed in Mixed In Key as 9A. Note, tracks that are a fifth apart are harmonically compatible as well. In addition, most of these tracks were tech house, deep house, and techno, so many of them didn’t have strong harmonic content.

Beatport Results

Beatport = 68% Accurate

Out of the 100 songs that I looked up on Beatport, only 68 of them displayed the correct key. Of the 32 tracks that were analyzed incorrectly, 8 of those tracks displayed the correct root note of the scale, but wrong major or minor key. For example, a track in A Minor displayed as A Major. Also, 8 of the tracks that were incorrectly analyzed were analyzed a fifth off. The rest of the tracks were completely off.

Final Results

As a conclusion, I have to say Mixed In Key is AMAZING and has come a long way with its key detection! I was completely blown away by its accuracy. Any track with some kind of recognizable melody was analyzed correctly majority of the time. I highly recommend Mixed In Key to any DJ ready to step up their mixing game. The software is under $60 and will completely change your DJ life forever!

Beatport, on the other hand, still needs some improvements with their key detection. Nevertheless, the new Beatport website is still great and completely designed for DJs. I have been spent many all-nighters digging through thousands of tracks on their website.

Congratulations to Beatport for the release of their new website, and congratulations to Mixed In Key for taking their software to the next level! However, in the key detection battle, Mixed In Key wins this round!

Immerse yourself in the complete art of DJing: from the fundamentals of beatmatching and mixing to using effects and programming extended club sets. Whether you’re a beginner wanting to learn fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing with both Serato Scratch Live and Traktor Scratch Pro.

Our instructors teach you the necessary techniques and draw on their vast collective experience to give you insight into the mindset, workflow, and art of DJing. Graduates of the DJ Extensive Program will have an opportunity to perform at an event in a New York City venue, organized and promoted by Dubspot together with you and your fellow students. At Dubspot, we want you to do more than just learn. We want you to be great at doing what you love. Let us help you get there!

What’s Included

DJ Level 1: Rookie Sessions | Essentials I

DJ Level 2: Phrase Mixing | Essentials II

DJ Level 3: Beyond The Blend | Intermediate Skills

DJ Level 4: Preparation | DJ Psychology

DJ Level 5: Classroom to the Club | Advanced Techniques I

DJ Level 6: Club to the World | Advanced Techniques II

Additional Information

Visit the DJ course page for detailed information on this programhere.

]]>Dubspot’s Michael Walsh explores the importance of hearing loss prevention and offers some earplug recommendations for musicians and music fans.

Would you trade your perception of sound for one night in front of the speaker stack?

Excessive exposure to loud levels of noise is often hard to avoid in today’s society, especially for us who enjoy music. I don’t know about you, but I’m always finding myself just a few feet from the bass bins at most music events. How many times have you been over there as well shouting at friends for 30 seconds before deciding to move? I’ve tried to change this behavior but like many of you, I’m a slave to the rhythm, and without realizing it I always end up in front of the speaker stacks. As a result, I’ve slowly but surely started carrying earplugs with me to help prevent irreversible inner ear damage. As a producer and a DJ, that’s a scary thought. In an effort to push hearing loss awareness, we will explore some different ways to help prevent hearing loss.

H.E.A.R. is a non-profit group that was created by musicians and serves as a hearing education resource for the public. They have some good information on their site that I recommend reading over when you have a moment. In the meantime, I’ve grabbed some essential knowledge on sound exposure from their website.

dB Level Awareness

When you notice a difference between loud sounds and quiet ones, your ears are perceiving changes in sound pressure level. Intensity (or volume) is measured in decibels (dB). Zero (0) dB is the softest sound that can be heard. Pain from hearing is subjective. Often, levels above 125 dB may be painful to some individuals. One way to reduce hearing damage is by paying attention to noise levels and realizing when they are too high. According to the United States Safety and Health Standards, we should not be exposed to more than 90 dB over a period of eight hours. If you work in a noisy environment, check out the decibel level you are being exposed to and take the proper precautions. There are several phone apps available that measure noise volume in decibels (dB). Another recommendation is to have your hearing evaluated at least once a year by a hearing health professional. In addition, turn down the volume, or remove yourself from the noise area when possible. It’s also recommended to give your ears a rest for 24 hours after exposure to dangerous levels of noise.

Hearing Protection

There is a variety of ear protection devices available today designed for different uses. For all you party and clubgoers, earplugs are the best protection for an event with a loud sound system. Like you, I love it loud. However, over the years I have experienced pain, ringing (tinnitus) and popping in my ears after long exposure to loud music. As a DJ and producer, I’ve made the mistake of turning up the monitors at events to heighten the feel of the music. At first, your ears will “bounce back” and you’ll be able to hear again after a couple of days. But over time the damage will compound, and your ears won’t bounce back the way they once did. Earplugs are a necessity these days for several reasons. Have you noticed how hard it is to work on your own music after a night at a club? It hurts… save your ears and be more productive with a proper pair of earplugs.

The good news is that there is more for your ears these days than conventional foam plugs that you find at the drugstore. These types of plugs are especially hard to play or mix music with because they block essential frequencies we enjoy when listening to music. Over-the-counter earplugs range from foam variety to rubber, silicone, and wax. They’re all affordable, comfortable, disposable, and provide important help in reducing the dangers of exposure to excessive levels of noise. H.E.A.R. explains the problems that musicians have with these types of earplugs:

Existing earplugs attenuate more than necessary for much of the noise in industry and the environment.

Regardless of their exact construction, existing earplugs produce 10 to 20 dB of high-frequency attenuation, and the result is that people often reject them because they can’t hear speech clearly.

Conventional earplugs make the wearer’s own voice sound hollow (known as the occlusion effect).

Many people risk their hearing by either wearing earplugs loosely or wearing no protection at all so they will be able to hear voices, machinery or music more clearly.

Earplugs for Musicians

Custom fit earplugs are recommended for musicians because they are comfortable, easy to insert correctly, and filter sound better than disposable plugs. They are made from an impression of the ear canal taken by an audiologist or other hearing health professionals such as Etymotic and HearNet.

Instead of cutting out the high frequencies and sounding muffled like traditional plugs, musician’s plugs attenuate all the frequencies evenly in relation to your hearing allowing you to hear a wider range of sounds while still protecting yourself from extreme levels. From personal use, I can tell you that they are a lot better than foam plugs.

The ER-20XS, Musicians Earplugs, and MP 9-15 models by Etymotic are popular custom high-fidelity earplugs for musicians that feature a special filter that lets the listener hear music at a safe level without sacrificing quality. They feature a flat-response attenuator that can be adjusted to set different levels of sound reduction while following the shape of the natural frequency response of the open ear. They both use a diaphragm, similar to a passive speaker cone as well to achieve the desired response curve.

Another popular set of earplugs are the Mack’s High Fidelity Hear Plugs, which replicate the natural response of the ear canal so that sound is heard clearly, just quieter and are a low-cost alternative.

Who Needs Musician Earplugs?

There are two types of people who could benefit from musician earplugs. The first type of people are those exposed to 90-120 dB sound levels for various time periods who need to hear accurately such as DJs, live performers, musicians, sound crews, recording engineers, nightclub employees, and other music industry professionals. The second type of people are those outside the music industry such as loud-music listeners, people with tinnitus or hyperacusis, spectators, construction workers, etc.

Musician earplugs offer better sound quality that is clearer and more natural. They also help to reduce fatigue associated with noise exposure as well over long exposure times. For example, DJs and live performance acts are subjected to loud levels of sound which can not only cause hearing damage but can also cause a shift in their perception of sound causing them to mix poorly or make bad decisions in a performance as a result of their hearing not functioning properly.

One mistake I’ve noticed many DJs make is turning up the headphones or monitors to compensate for a loud sound system when cueing the next track. The better solution is to turn down your monitors and your phones to let your ears rest and get used to the sound of the room. When the headphones are too loud you may confuse yourself in a mix in two ways – you will lose track of what is happening on the floor, and you will start hearing the track in the phones as running faster in the mix than it actually is. If you ever find yourself confused in a mix, turn down the headphones and ride the levels slowly until you hear the mix clearly. Try balancing the headphone levels down and up (keeping them low) before you touch the pitch and you’ll keep control of your mix.

Unravel electronic music’s origins, build your chops, learn musical language and theory, and make and play music the way you want. Students will develop a deeper understanding of the roots and lineage of a variety of electronic and dance music genres, strengthen their keyboard skills, and learn valuable music theory, deepening their creative practice and facilitating effective collaborations with musical partners.

About This Program

The best producers, DJs, and musicians in the world strive to be well-rounded. So should you. In Dubspot’s Music Foundations Program, you’ll explore three major aspects of music: rhythmic theory, melodic theory, and critical listening.

Most pioneering early electronic musicians had years of conservatory training in theory and performance but had access to very limited technologies. In today’s musical world, it’s the opposite: we have a powerful and versatile array of electronic music making tools at our fingertips, but often fall short in our theoretical understanding of how electronic music works.

Our Music Foundations program is designed to fill this gap and provide training in fundamental skills and concepts with the electronic musician, DJ, and producer in mind. In this course, you’ll build your chops and learn the basics of musical language and theory so that you can make and play the music you want. You will also develop a deeper understanding of the roots and lineage of a variety of electronic and dance music genres, and explore compositional techniques and song structure. The weekly homework lessons for all three courses have been designed using Ableton Live, and along the way you’ll also learn the basics of Ableton and how to use it as a powerful tool to improve your musicianship in a variety of ways.

What’s Included

Music Foundations Level 1: Pads & Rhythmic Theory

Music Foundations Level 2: Keys & Melodic Theory

Music Foundations Level 3: Critical Listening

Additional Information

Visit the Music Foundationscourse page for detailed information on this programhere.

]]>In this DJ video tutorial series aimed at teaching you the art of scratching, Dubspot DJ instructor and DMC World Champion DJ Shiftee takes us into his spicy Salsa School of Scratch and shares his expertise in turntablism.

In this video Dubspot DJ instructor and DMC World Champion DJ Shiftee, kicks off a series of turntablism tutorials aimed to teach you the art of scratching. In anticipation of epic battles ahead, Shiftee shares his insight on how he performs and teaches by demonstrating some of DJing techniques that got him where he is today, as well as gives us a small taste of what students can learn here at Dubspot.

In this second part of a DJ tutorial series aimed at teaching you the art of scratching, DJ Shiftee takes us into his spicy Salsa School of Scratch to demonstrate the correct way to position your hands on the turntable and mixer to optimize your scratching chops.

In this third part of a DJ tutorial series aimed at teaching you the art of scratching, DJ Shiftee takes us into his spicy Salsa School of Scratch to demonstrate the caliente style Swing Flare scratch technique along with a few additional variations to truly impress your audience.

In this fourth part of a DJ tutorial series aimed at teaching you the art of scratching, DJ Shiftee takes us into his spicy Salsa School of Scratch to demonstrate the Orbit scratch technique along with a few additional variations and combinations for a fiery hot scratch routine.

In this fifth part of a DJ tutorial series aimed at teaching you the art of scratching, DJ Shiftee takes us into his spicy Salsa School of Scratch to demonstrate how to execute the Crab scratch and work the crossfader to perform variations and combinations to get you crabbing like a pro.

About Shiftee

New York City’s Shiftee is quite simply one of the most dynamic & innovative DJs on the planet, electrifying crowds from NYC to London to Tokyo with his unique hybrid of turntablism, new technology, honed party rocking, and exquisite musical curation. With a degree from Harvard, two unique DMC World Champion titles, an NYU adjunct professorship & Dubspot DJ program directorship, a top 10 release on Beatport’s genre charts, and an ongoing international tour schedule, this seven-time America’s Best DJ Nominee can do it all.

Shiftee’s prowess as a DJ & performer is unquestioned. In 2007, Shiftee became the only American DJ to date to have won the DMC Battle for World Supremacy title. This victory served as the catalyst for widespread international recognition, allowing Shiftee to take his talent and creativity across Asia, Europe, and the US to some of the world’s biggest clubs, most prestigious venues, and monster festivals. In 2009, Shiftee also won the DMC World DJ Championship, was automatically inducted into the DMC DJ Hall of Fame, and finally brought the fabled gold Technics turntables back to NYC. This title places his name alongside over 20+ legendary DMC World Champs including Craze, A-Trak, Cash Money, DJ Cheese, Rock Steady DJs (Apollo, Mix Master Mike & Q-Bert), Plus One of Jack Beats, and the late Grand Master Roc Raida. Since then, Shiftee’s groundbreaking routine videos have garnished millions of views and helped pave the way forward for the future of DJ performance.

Not only a turntablist, Shiftee is a force to be reckoned with in the mix. His cutting edge mixtapes have been featured on BBC 1Xtra, Rinse FM, Mishka Keep Watch, Kiss 100 (UK), RBMA Radio, Fools Gold, Deepsession, Get Darker, Seclusiasis, The Rub’s Scion AV Show, Dubspot, Noise 212, URB, and more. His “UK Meets USA” mixtape series, a collaboration with Butterz head Elijah, has earned widespread critical acclaim from places like Resident Advisor, Noisey, FACT Mag, and many more. Mishka recently ranked Shiftee’s “Keep Watch” mix as the most memorable of its entire run.

Shiftee is also a renowned educator in the field of DJing and DJ technology. He is an adjunct professor at New York University, the Director of DJ Curriculum at the prestigious Dubspot school in NYC, and an endorsed artist of Native Instruments. He has guest lectured on DJing at Harvard, Princeton, Bard, HATCH, and more. The man understands DJing! Beyond teaching, Shiftee continues to spend his time figuring out new and innovative ways to decimate the dancefloor. He fuses an astute ear for forward thinking music with a world champion skill set and grasp of technology, creating an experience that is always jaw dropping.

Immerse yourself in the complete art of DJing: from the fundamentals of beatmatching and mixing to using effects and programming extended club sets. Whether you’re a beginner wanting to learn fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing with both Serato and Traktor.

What’s Included

DJ Level 1: Rookie Sessions | Essentials I

DJ Level 2: Phrase Mixing | Essentials II

DJ Level 3: Beyond The Blend | Intermediate Skills

DJ Level 4: Preparation | DJ Psychology

DJ Level 5: Classroom to the Club | Advanced Techniques I

DJ Level 6: Club to the World | Advanced Techniques II

More start dates and information about payment plans can be found here.

]]>http://blog.dubspot.com/dj-shiftee-salsa-school-of-scratch/feed/0Dubspot Year in Review: Best DJ Tips Tutorials of 2015http://blog.dubspot.com/best-dj-tips-tutorials-2015/
http://blog.dubspot.com/best-dj-tips-tutorials-2015/#commentsWed, 30 Dec 2015 16:30:14 +0000adminhttp://blog.dubspot.com/?p=78365In this DJ tips and techniques roundup, we look at some of our most popular and well-received DJ tutorials from this year.

]]>In this DJ tips and techniques roundup, we look at some of our most popular and well-received DJ tutorials from this year. Learn how to further develop your rhythmic and musical style, while mastering today’s leading DJ technology in our upcoming DJ course in LA, NY, and Online. Classes start soon, Enroll Today!

In this first video of a three-part series about Live Performance Techniques, Dubspot Instructor Adam Partridge aka Atropolis demonstrates his live set and performs a Global Bass routine with various instruments. In the second and third part of the series, Adam will breakdown his approach to performing live and take us further into his set while sharing many helpful techniques to help improve your live sets.

In this second video of a three-part series on Live Performance Techniques, Dubspot Instructor Adam Partridge aka Atropolis takes us through his live set and explores the equipment used to make it all happen. In the third part of the series, Adam will break down his live set further and go into more detail about some of the custom tools used while sharing many helpful techniques to help improve your live sets.

In this third video of a three-part series on Live Performance Techniques, Dubspot Instructor Adam Partridge aka Atropolis takes us deeper into his live set to give an even closer look at the custom tools used to perform and manipulate sounds while offering some creative tips to help improve your live sets.

In this NY EDU Sessions video recap, Dubspot Instructor, Visual Artist, Programmer, and VIDVOX head David Lublin introduces us to the world of VJing and live performance using VDMX visual performance software.

Dubspot Instructor and Native Instruments product specialist ENDO shares his insight into Native Instruments announcement of Stems, a new open audio format for DJs aimed at expanding the creative potential of DJing and Live Performance.

In this first episode of Beat Bang Theory, Dubspot Instructor Shareef Islam welcomes special guest Lord Finesse, influential hip-hop artist, producer, and founder of Diggin’ in the Crates (D.I.T.C.). Join them as they dig deep into the crate of vinyl sampling and hip-hop music production.

Immerse yourself in the complete art of DJing: from the fundamentals of beatmatching and mixing to using effects and programming extended club sets. Whether you’re a beginner wanting to learn fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing with both Serato and Traktor.

What’s Included

DJ Level 1: Rookie Sessions | Essentials I

DJ Level 2: Phrase Mixing | Essentials II

DJ Level 3: Beyond The Blend | Intermediate Skills

DJ Level 4: Preparation | DJ Psychology

DJ Level 5: Classroom to the Club | Advanced Techniques I

DJ Level 6: Club to the World | Advanced Techniques II

More start dates and information about payment plans can be found here.

]]>DMC World Champions DJ Shiftee and DJ Enferno unite as E.A.S.Y. to present the video for their latest release “Like That” featuring a few of their favorite Beatport Sounds sample packs. Afterward, they break down their routine and show how they use sample packs to take their live set to the next level.

DMC champs Shiftee and Enferno reunite once again as E.A.S.Y. taking on #RealDJing where turntablism meets live performance in this video for their latest single, “Like That.” The next-level duo steps it up in the evolution of live performance blending controllerism, turntablism, and live production in this live routine featuring their favorite Beatport Sounds sample packs. Afterwards, they break down their routine and show how they use sample packs to take their live set to the next level.

Visit Beatport Sounds to check out their selection of hand-picked sample packs ready to use in your new production or live set.

About E.A.S.Y.

E.A.S.Y. is Enferno and Shiftee, yo.

These two titans of DJ performance first met in boarding school, where they were rivals in the dining hall. Back then, it was Team Enferno vs. Team Shiftee. The DMC champions have since found common ground with their mutual mastery of boundary breaking skillz, next next future sounds, and stylish hat wearing.

E.A.S.Y. is the craziest DJing meets live performance you’ve ever seen. Gear on gear with turntables, drum machines, and keyboards, all worked in a way that makes sense but still explodes your mind grapes. Oh right, and it sounds amazing. Melodic yet gangster, epic but classy – like a tiger riding a motorcycle wearing a top hat.

E.A.S.Y. is evolution: of DJing, of turntablism, of live music in general. There’s no push play here. This is #RealDJing and then some. This is a movement. This is the return of skills, the return of actual performance, the return of true talent and musicianship all coming together. Sorry if we’re getting too Kanye on you, but we’re hype over here! And E.A.S.Y. loves Kanye.

E.A.S.Y. is for everyone. E.A.S.Y. makes girls literally CAN even and causes the fellas to unleash DMX-on-a-rollercoaster barks. E.A.S.Y. is for your bff, your grandma, your homies, and your drug dealer. E.A.S.Y. is for the gritty club and the giant festival, the dancefloor and your headphones. Whether you want to watch or listen, turn up or take notes, E.A.S.Y. is guaranteed to give you what you need and beyond.

Immerse yourself in the complete art of DJing: from the fundamentals of beatmatching and mixing to using effects and programming extended club sets. Whether you’re a beginner wanting to learn fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing with both Serato and Traktor.

]]>DMC world champion and Dubspot DJ program director Shiftee presents his latest routine, Frozen Shell from curl up’s latest EP, Winternet. Learn many of these DJ skills and more in any of our upcoming DJ and Turntablism courses. See Course Dates and Register Today!

DJ Shiftee keeps it hot a lil longer this summer with his latest routine performed on a pair of Technics turntables, a Traktor Kontrol Z2 control mixer, and two Traktor Kontrol D2 performance decks loaded with NI STEMS.

The track being performed is called ‘Frozen Shell’ from the EP ‘Winternet’ produced by Dubspot’s Dan Salvaggio aka curl up and released on Shiftee’s label Hot Mom USA.

curl up | Winternet EP

Winternet EP is also available in NI STEM format on Juno Download here.

Dan Salvaggio aka curl up is a producer, guitarist, DJ and writer who brings a melodic bounce to modern dance music from his studio in Queens, NY. He is an accomplished producer with releases on Terrorhythm and Hot Mom USA and remixes for labels such as Ultra, Party Like Us, and #feelings. Dan is also a writer and social media guru for Dubspot.

DJ Tutorial | Cue Points + Scratching Techniques

Backspinning | Turntablist Party Routine pt.2

Immerse yourself in the complete art of DJing: from the fundamentals of beatmatching and mixing to using effects and programming extended club sets. Whether you’re a beginner wanting to learn fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing with both Serato and Traktor.

]]>Stems-ready TRAKTOR software and hardware are here! Native Instruments announced today the release of their STEMS multitrack audio format to the public along with TRAKTOR PRO 2.9. The free TRAKTOR PRO 2.9 update brings full STEMS control to TRAKTOR KONTROL S8, D2, and F1.

STEMS + Traktor Pro 2.9

Native Instruments announced today that they are releasing their STEMS multitrack audio format to the public along with a new version of TRAKTOR PRO 2 that will support the new format.

Press Release: Berlin, August 3, 2015 – Developed by Native Instruments, Stems is an open file format providing the ability to freely interact with a track’s four different musical elements – such as drums, bass, keys and vocals. Each stem’s volume, filter, and effects settings can be controlled independently to create instant new mixes, mashups, instrumentals, a cappellas, and more. Since Stems was announced in May 2015, six major online retailers Beatport, Bleep, Juno, Traxsource, whatpeopleplay, and Wasabeat have officially begun stocking hundreds of releases from prominent artists and labels in Stems format on their respective sites. From some of 2015’s biggest albums to favorite hits, the list of labels releasing in Stems format is continuously growing.

Hands-on control of Stem files is now possible with the TRAKTOR PRO 2.9 update – the first DJ software to support Stems. For TRAKTOR KONTROL S8 and D2 the Stems View provides a clear, color-coded overview of a track’s four stems as stacked waveforms – granting DJs in-depth, multi-channel control over a single track. DJs with a Stems-ready controller will be able to start playing Stems right away. Three Stems tracks played by Berlin-based DJ-producer NGHT DRPS in a new performance video featuring Stems are now free to download in Stems format directly from the Native Instruments website.

To support the online community of DJs, as well as producers, developers, and industry professionals, www.stems-music.com will act as the official home for important information about playing and creating Stems. Later this summer, Native Instruments will release the free Stem Creator Tool – a standalone application that opens the door for anyone to create their own Stem files.

STEMS

Stems is a new open audio file format that contains an audio track split into four musical elements. For example, you could set up a drum stem, bass stem, synth stem, and a vocal stem. It also contains the full stereo mix of all four Stems mixed together. The stem file is a container that holds all of these elements into a single file with the .stem.mp4 file extension. Since Stems is an open audio format, it can be supported by any DJ software or hardware. The code and format specifications will also be available if anyone wants to integrate Stems into their future music performance and production tools. The open file format also allows anyone to create Stems without paying licensing fees for creation, distribution, or use. As of now the only program that supports Stems is Traktor, but I’m sure we will see others supporting this new file format very soon.

Stems files can be played back using any audio player or DJ software that supports MP4’s such as iTunes, Serato, and even a CDJ. You can also put Stems into iTunes playlists just like they were any other song in your collection. If you play the song in iTunes, or any program that doesn’t support Stems it will just play the mixed stereo file like it was any other track or MP3.

Immerse yourself in the complete art of DJing: from the fundamentals of beatmatching and mixing to using effects and programming extended club sets. Whether you’re a beginner wanting to learn fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing with both Serato and Traktor.

What’s Included

DJ Level 1: Rookie Sessions | Essentials I

DJ Level 2: Phrase Mixing | Essentials II

DJ Level 3: Beyond The Blend | Intermediate Skills

DJ Level 4: Preparation | DJ Psychology

DJ Level 5: Classroom to the Club | Advanced Techniques I

DJ Level 6: Club to the World | Advanced Techniques II

More start dates and information about payment plans can be found here.

In this video, Dubspot Instructor SentZ shows us how to use Native Instruments KONTROL F1 controller and Traktor Remix Decks to perform mashups. Sentz takes us through various workflow techniques used to remix and re-edit tracks on-the-fly, as well as prepare us for the release of STEMS, a new multi-channel file format for creative mixing. Learn how to use the four channels on the Remix Decks to organize content based on frequency ranges, mix sounds to avoid clashing, and apply various dub-style effects to enhance the performance using the Traktor KONTROL X1.

About SentZ

Immerse yourself in the complete art of DJing: from the fundamentals of beatmatching and mixing to using effects and programming extended club sets. Whether you’re a beginner wanting to learn fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing with both Serato and Traktor.

What’s Included

DJ Level 1: Rookie Sessions | Essentials I

DJ Level 2: Phrase Mixing | Essentials II

DJ Level 3: Beyond The Blend | Intermediate Skills

DJ Level 4: Preparation | DJ Psychology

DJ Level 5: Classroom to the Club | Advanced Techniques I

DJ Level 6: Club to the World | Advanced Techniques II

More start dates and information about payment plans can be found here.

]]>http://blog.dubspot.com/traktor-remix-decks-tutorial/feed/0Dubspot NY EDU Sessions Video Recap: A History of Turntablism w/ DMC World Champion Shifteehttp://blog.dubspot.com/turntablism-history-with-shiftee/
http://blog.dubspot.com/turntablism-history-with-shiftee/#commentsThu, 28 May 2015 19:59:17 +0000adminhttp://blog.dubspot.com/?p=74909In this workshop video recap, DMC champion and Dubspot Instructor DJ Shiftee takes us through the history of turntablism and evolution of the turntablist.

]]>In this NY EDU Sessions workshop video recap, 2-time DMC champion and Dubspot DJ curriculum director DJ Shiftee takes us through the history of turntablism and evolution of the turntablist. Learn how to further develop your rhythmic and musical style, while mastering today’s leading DJ technology in our upcoming DJ course in LA, NY, and Online. Classes start soon, Enroll Today!

In this NY EDU Sessions workshop video recap, 2-time DMC champion and Dubspot DJ curriculum director DJ Shiftee takes us through the history of turntablism and evolution of the turntablist. Shiftee shares his insight about the art form while executing various techniques and talking about the DJ’s who have evolved the craft from records on turntables to the modern use of computers and controllers for live performance. Learn about evolving trends and technology from each era, as well as how to use the turntable as an instrument.

About DJ Shiftee

DJ Instructor & Native Instruments Specialist

DJ Shiftee is a tuntablist, party rocker, Harvard math grad, and one of the premiere battle DJs in the world. He is the 2007 and 2009 DMC Supremacy World Champion, the only US champ ever, the 2008 IDA/ITF World Vice Champion, and the self-proclaimed

greatest sandwich maker of all time. Using two turntables and a mixer as his instruments, Shiftee actively performs turntablist showcases, experimental group projects, and party sets around the globe. Known as an established force on the international DJ scene, Shiftee has translated his intuitive math geek mentality into far-reaching success on the turntables.

Immerse yourself in the complete art of DJing: from the fundamentals of beatmatching and mixing to using effects and programming extended club sets. Whether you’re a beginner wanting to learn fundamentals or a seasoned pro looking to take your talent to the next level, our curriculum is designed to accommodate all skill levels and styles of music. This comprehensive DJ program covers everything from basic mixing to advanced digital DJing with both Serato and Traktor.

]]>For this week’s installment of Dubspot Radio Podcast, we welcome rising Philadelphia-based DJ and aspiring producer Matthew Law (f.k.a. DJ PHSH) of Illvibe Media for an exclusive DJ mix and interview. In a conversation with Dubspot Radio, Matthew talks about the current musical landscape of Philly, some of his influences and inspirations, and opening for Prince on SNL 40th Anniversary special alongside Questlove. Matthew Law and the Illvibe Collective brings their successful Philly-based Friends & Fam party to Brooklyn on Friday, March 20th.

MATTHEW LAW (formerly DJ PHSH) born in West Philadelphia in an area long heralded as a hotbed for artists of all mediums. From the very start, this son of two theatre aficionados was exposed to an array of musical styles – Classical to Avant-Garde Jazz, Psych Rock to 70’s Funk. MATTHEW now draws from his vast musical knowledge and incorporates all these elements into his unique party rocking sets.

In 2013, MATTHEW (as DJ PHSH) was voted Northeast Champion of the Red Bull 3Style Competition. He ultimately placed third out of 130 competing DJs in the National battle by a celebrity panel of judges including Jazzy Jeff, A-Trak, and Z-Trip.

MATTHEW often mans the 1’s and 2’s for Black Thought and Dice Raw, providing the beatscapes for these two Legendary Roots Crew MCs. He toured extensively in the US with rapper Gilbere Forte and has also hyped the crowd with opening sets for Kendrick Lamar, De La Soul, J Cole, Slick Rick, Yeawolf, and Mos Def. In addition, he has appeared at every PSK event in Philadelphia, as well as the Roots Picnic 2013.

Most recently, MATTHEW (as DJ PHSH) was featured on MTV’s Rap Fix in an extended interview with Sway. He will soon be DJing alongside Questlove at the highly prestigious Barnes Foundation in Philadelphia.

As a member of the Illvibe Collective, MATTHEW LAW gained international exposure as a featured DJ on the 2011 German tour for the Hip Hop Don’t Stop series. The series has also featured the likes of Pete Rock and Premiere.

Back in the Illadeph, MATTHEW LAW produces his own event called FRIENDS & FAM that draws a sold-out crowd of 300+ people every month. During the summer months, you can also catch him spinning for a crowd of nearly 1,500 at Philly’s notorious Sundae party series.

With stamps of approval that literally go from A-Trak to Z-Trip, this rising star is definitely one to keep your eyes and ears open too.

“People say there’s something in the water in West Philly and if that’s the case, then DJ PHSH is swimming in it. Jazzy Jeff and I have laid the ground work, now here comes the PHuture.” – Questlove

Matthew Law and the Illvibe Collective brings their successful Philly-based party to Brooklyn on Friday, March 20th at Baby’s All Right in Williamsburg. With support from Okayplayer, New York City based DJ Annalog and a host of special/unannounced guests, Friends & Fam Brooklyn should be a great night! RSVP here.

Visit our New York and Los Angeles locations! Ask our Admissions Counselors in-depth questions about our programs, curriculum and philosophy. Watch live music production and DJ demos, and test drive our student workstations. If you are still trying to decide what you are looking for, stop by one of our Open Houses in NYC or schedule a tour in LA to find out more about the learning process at Dubspot. We can also help with scheduling details and payment options.

In this third part of a series on building a DJ template, Dubspot’s Rory PQ takes us through the steps of creating a DJ Assist Mix Fader Rack used to mix two tracks effortlessly for seamless transitions. Included is a FREE Ableton Live Audio Effect Rack. Check out our DJ/Producer Master Program, classes start soon.Enroll Today!

In the first two parts of our series on building a custom DJ template in Ableton Live, we looked at how to build a basic DJ template and created some DJ-style effects triggered by Dummy Clips. In this third part of the series, we will build up the DJ template even further by creating an Assist Fader Rack for seamless mix transitions.

Before we get to mixing our club bangers, check out the previous tutorials in our series on building a custom DJ template below.

In this tutorial, we will focus on creating custom mix faders that will allow us to execute seamless transitions from one track to another quick and easy. The Assist Mix Fader Rack we will develop in this tutorial can be downloaded for FREE by filling out the form below.

[contact-form-7]

What Does the Assist Mix Fader Rack Do?

This intuitive approach to mixing makes it extremely easy to mix two tracks together without the need to fuss with any EQing on your preferred controller or mixer. Essentially, you can achieve silky smooth transitions with one hand leaving your other hand free to make hand hearts and wave to your mom at the club during your performance. Sounds intriguing, how does it work you may ask? Typically when transitioning two tracks during a basic mix, a DJ will first introduce the mid frequencies of the next track being brought into the mix. Once the next track is introduced, the DJ will perform creative mix techniques using the high and low EQ’s, as well as have some fun with various effects. With a simple move of a fader, the Assist Mix Fader Rack will introduce the mid frequencies first and then begin to accentuate the high and low frequencies next. The frequencies will balance at unity once the fader reaches its maximum range, typically 0 dB. In addition, sidechain compression is used to duck the volume on the current track playing when mixing in the next track. Adjusting the fader automates the threshold on a sidechain compressor and slowly introduces sidechain compression that is triggered by low frequency range set on the compressor. This approach will retain a tracks punch and help remedy clashing low frequencies that can cause phasing, muddiness, and volume spikes. The result when using the Assist Mix Fader Rack is transparent transitions with controlled lower frequencies and clarity.

Bonus Tip: You could use this rack in Arrangement View and automate the Mix Knob controls to create transitions for mixes laid out in a linear fashion.

Check out the Assist Mix Fader Rack in action below where I mixed two techno tracks together by simply adjusting the left and right Mix Knobs.

Building an Assist Mix Fader Rack

For this mixing approach to work, we will need to create identical Assist Mix Fader Racks for both the Left Deck and Right Deck tracks. The only difference will be the sidechain routings. Jumping right in, let’s first create the rack and then move on to MIDI mapping the controls and finishing the setup. For this demonstration, we will work with the DJ template created in the first part of the series. Free download HERE.

Step 1 | Setting up EQ’s

Select Filter 1 and the set the Filter Mode to Low Cut and Macro map the Frequency control and Activator switch to Macro 1.

Select Filter 4 and the set the Filter Mode to Bell and Macro map the Frequency and Gain controls to Macro 2.

Select Filter 8 and the set the Filter Mode to High Cut and Macro map the Frequency control and Activator switch to Macro 2.

Rename Macro 1 to ‘Low’ and Macro 2 to ‘High.’

Macro map both the Low and High Macros to Macro 1 on the first Audio Effect Rack and rename it ‘Mix Knob.’

Click the Macro Mode Switch on the second Audio Effect Rack with the EQ Eight and adjust the following control settings in the Mapping Browser.

Step 2 | Noise Gate

This next step is optional but recommended to silence the output signal completely when the fader is down all the way.

Load a Gate device just after the EQ Eight.

Increase the Threshold to 6.00 dB.

Decrease the Return to 0.00 dB.

Macro map the Device Activator button to the Low Macro.

Once again click the Macro Mode Switch on the second Audio Effect Rack and adjust the following Gate control settings in the Mapping Browser.

Step 3 | Sidechain Compression

For this step, we will create an additional rack for sidechain compression. This addition will help keep the low end in check during transitions while retaining the punch and clarity of the incoming track. It’s important to note that the Threshold is controlled by the opposite tracks mix fader. In other words, the incoming track will control the amount of sidechain compression being applied to the track currently playing. We will look at this further in the steps on MIDI Mapping the controls.

Load a Compressor just after the Gate.

Group the Compressor into another Audio Effect Rack by clicking CMD [MAC] / CTRL [PC] + G on your keyboard.

Create a new chain by right-clicking the Chain List and selecting Create Chain.

Rename the chain with the Compressor ‘Sidechain’ and the chain without a Compressor ‘Dry.’

Macro map the Compressors Threshold control and Device Activator button to Macro 1 and rename it ‘SC.’

Expand the Sidechain Controls view and activate the Sidechain button. From the Audio To menu select the opposite track for playing back audio. For this demonstration, it will be the Right Deck track.

Activate the EQ button and select High Cut for the Filter Type. Next, adjust the Frequency to taste. I found 120 Hz to work well.

Adjust the Ratio, Attack, and Release controls to taste. Try starting with a Ratio between 2:1 – 4:1, medium-fast Attack at 50 ms, and a fast Release at 25 ms. Optionally you could bump the Knee up a bit and set up the Compressor to react to either Peak or RMS.

Click the Chain button to show the Chain Select Editor, and Macro map the Chain Select Ruler to the SC Macro.

Adjust the Zones for both chains to match the image below.

Next, Macro map the SC Macro to Macro 3 on the second Audio Effect Rack, and then Macro Map Macro 3 to Macro 2 on the first Audio Effect Rack. Rename the Macro control accordingly.

Finally, click the Macro Mode Switch on the Audio Effect Rack with the Compressor and adjust the following control settings in the Mapping Browser.

Step 4 | Organization

This step is optional and only applies if you’re working with the DJ Template we created in the first tutorial of the series.

Drag the entire Assist Mix Fader Rack over to the Left Deck FX Rack we created in the first tutorial and place it before the Limiter.

Macro map the Mix Knob to Macro 8 on Left Out FX Rack and rename it accordingly.

Step 5 | Second Channel Setup

Before we move on to MIDI map the controls for a controller or mixer, we will need to create and set up an Assist Mix Fader Rack for the second channel. Luckily, much of the work in nearly completed. All we need to do is the following.

Copy the Assist Mix Rack we just created and paste it into the Right Deck FX Rack just before the Limiter.

Macro map the Mix Knob to Macro 8 on Left Out FX Rack and rename it accordingly.

Expand the Sidechain Controls view on the Compressor and select Left Deck from the Audio To menu.

Double check that the MIDI Mappings are correct in the Mapping Browser for each section of the rack.

Step 6 | Controller MIDI Mapping

This final step covers how to correctly MIDI map the Assist Mix Fader Rack to your favorite controller or mixer. It’s important to note that the DJ template has aux tracks set up for our DJ effects. We have the option to MIDI map the Assist Mix Faders to the aux track leaving the main Left Deck and Right Deck faders to work as normal faders. To take advantage of having both options, you would need a second set of faders available on your controller. Let’s check out how to get this rack up and running.

Click CMD [MAC] \ CTRL [PC] + M to turn on MIDI Map Mode.

MIDI map the Left Out fader and the left Mix Knob Macro to the same fader on your controller for the left channel.

MIDI map the SC Macro to your controllers right channel, which will be the opposite channel fader than the Mix Knob.

Repeat the steps above for the second channel.

Finally, while still in MIDI Map Mode, adjust the Track Volume Max amount for both tracks to 0.0 dB, so the faders max range is unity and not 6 dB.

LET’S PARTY!

Great work, time to spin up the Disco lights and have some fun with your new DJ template. This tutorial may be the last in our series on building a custom DJ template, but it’s not the last time we will explore DJ and live performance techniques in Ableton Live. In the meantime, I encourage you all to experiment with the template, have fun, and shake some club speakers!

The flagship of our music training, with every Ableton Live course offered at the school. After completing this program, you will leave with a portfolio of original tracks, a remix entered in an active contest, a scored commercial to widen your scope, and the Dubspot Producer’s Certificate in Ableton Live.

What’s Included:

Ableton Live Level 1: Beats, Sketches, and Ideas

Ableton Live Level 2: Analyze, Deconstruct, Recompose, and Assemble

Ableton Live Level 3: Synthesis and Original Sound Creation

Ableton Live Level 4: Advanced Sound Creation

Ableton Live Level 5: Advanced Effect Processing

Ableton Live Level 6: Going Global with your Music

This program is about learning Ableton Live by going through the entire process of being an artist, by developing your own sound through a series of sketches and experimentation. You will also learn the ins and outs of this powerful software through a series of exercises designed to help you master the steps involved in producing your own music. After a level of getting familiar with the tools that Ableton has to offer, you will then develop your sonic ideas into full-length tracks. You will be exposed to a variety of approaches to arrangement and composition, storytelling techniques, ways of creating tension and drama in your music. At the end of the day, it is the sum total of your choices as an artist that define your sound, and levels 2 – 6 will give you the experience of actually completing tracks to add to your portfolio.

]]>http://blog.dubspot.com/ableton-tutorial-dj-mix-fader-rack/feed/0Ableton Live Tutorial: Building Dummy Clip DJ Effects w/ Rory PQ + FREE Downloadhttp://blog.dubspot.com/ableton-tutorial-dj-dummy-clip-effects/
http://blog.dubspot.com/ableton-tutorial-dj-dummy-clip-effects/#commentsTue, 17 Feb 2015 19:56:01 +0000Rory PQhttp://blog.dubspot.com/?p=72295In this second part of a tutorial series focusing on building a DJ template, Dubspot's Rory PQ takes us through the steps of building DJ effect racks triggered by Dummy Clips.

In this second part of a series on building a DJ template, Dubspot’s Rory PQ takes us through the steps of building DJ effect racks triggered by Dummy Clips. Included is a FREE Ableton Live DJ Effect Racks. Check out our DJ / Producer Master Program, classes start soon. Enroll Today!

In the first part of our series on building a custom DJ template in Ableton Live, we looked at how to build a basic DJ template. In this second part of the series, we will build up the DJ template further and create two additional Audio Effect Racks that will be triggered by Dummy Clips.

Before we get the party started head over to the first tutorial in the series HERE and download the FREE Ableton Live DJ Template. We will use this template as the foundation for creating Dummy Clips that will trigger a Dub Delay rack and Fading Beat Repeat rack, which can both be downloaded by filling out the form below.

[contact-form-7]

What is a Dummy Clip?

A Dummy Clip is not what you call your buddy when he gets his hand stuck in peanut butter jar. The term Dummy Clip is used to describe an empty Audio Clip that contains automation for modulating a specified parameter of any device in Ableton Live. Dummy Clips are used to trigger automation only and are not intended to playback any audio. You may ask, “Why trigger an audio effect using a Dummy Clip rather than directly from the device or Macro control?” There are several reasons; first it allows you to have more control over how an audio effect reacts after its triggered. With a single push of a button, you can control the behavior of multiple parameters, as well as define exact parameter ranges. For example, you could automate a filter frequency control to open up to 10 kHz over a specified amount of time while also activating a Beat Repeat device with a single push of a button. The creative possibilities are up to you! Secondly, using Dummy Clips lightens the CPU load because you can send multiple tracks to one effect instead of having multiple instances of the same effect loaded. It is also a non-destructive approach that allows the original signal to keep playing without any interruptions.

There are various ways to use Dummy Clips, but in this tutorial we will focus on creating Dummy Clips that trigger each of the Audio Effect Racks we will create in this tutorial.

Setting up Dummy Clips

Let’s begin by creating two Dummy Clips for both the Left Out and Right Out tracks. Setting up a Dummy Clip is fairly easy. Essentially, the process evolves creating a new Audio track, routing the audio from another track, setting the Monitoring input, recording an empty Audio Clip, and drawing in some automation for specified device parameters. Luckily, much of this process is completed in the DJ template we created in the first tutorial of the series.

Looking at the In/Out Sections for both the Left Deck and Right Deck tracks you will see that the output signal is being sent to the corresponding Left Out and Right Out tracks. In addition, the Monitoring for both Left Out and Right Out tracks is set to ‘In’ to accept the incoming signal.
To complete the setup, will require us to create a Dummy Clip for each of the two Audio Effect Racks that we will create in this tutorial, and then draw in some automation to trigger the effect. Let’s begin by creating an empty Dummy Clip in the Left Out track.

Arm the track for recording by enabling the Arm Session Recording button next to the Track Volume fader.

Click the Record button located within any available clip slot to begin recording an empty clip for a length of 1 bar or more. You can also adjust the Loop Length in Clip View.

Duplicate the Dummy Clip and rename one Beat Repeat and the other Dub Delay.

Copy the two Dummy Clips over to the Right Out Track.

Creating a Fading Beat Repeat Rack

Triggering this effect creates a repeated stutter delay that decays in volume over time. It works great when triggered just before a drop, during transitions, or any other time to break up a beat for adding some variation. The possibilities are up to you! The rack has Macro controls for adjusting the rate at which the repeats occur, size of each repeated slice, and how much the volume will decay over time. In addition, a Sidechain Compressor has been added to duck the volume of the repeated slices from the opposite deck to help keep things in check. Let’s look at how to set up this rack.

Drop in an Audio Effect Rack to the Left Out track.

Load a Beat Repeat device.

Macro map the Interval, Grid, and Decay controls to separate Macros and adjust them to taste. For a nice starting point try setting the Interval to 1/4, Grid to 1/8, and 25% for Decay.

Enable the Repeat button so that the Beat Repeat will immediately capture material and begin playing repetitions once the effect is triggered.

Set the Output Mode to Insert by clicking the ‘Ins’ button. Insert Mode will mute the original signal when repetitions are playing.

Optional – Enable the Filter and adjust it to taste, as well as the No Triplets button if you do not want the repeats to occur in triplet beat divisions.

Load a Compressor after Beat Repeat.

Enable the Sidechain button and choose Right Out from the Audio From menu. Choose Left Out when setting up this rack for the Right Out track.

Adjust the Ratio, Attack, Release, and Threshold controls to taste.

Now that we have our rack set up, drag it over to the Left Deck FX Rack we created in the first tutorial and place it before the Limiter. Next, Macro map the racks Activator button to any available Macro control on the Left Out FX rack and rename it Beat Repeat.

Fading Beat Repeat Dummy Clip Settings

Let’s continue setting up the Fading Beat Repeat Rack by moving forward with the configuration of the Beat Repeat Dummy Clip.

Step 1

Double-click the Beat Repeat Dummy Clip to open Clip View.

Locate the Launch box and select Repeat from the Launch Mode chooser menu. The Repeat setting will allow you to sustain the effect by clicking and holding the Dummy Clip’s Launch button. Releasing the button will deactivate the effect.

Click the Quantization chooser menu and select 1/16. This setting will capture material on a 16th beat division so that the repeats are in sync with the tempo. Feel free to set the Quantization to any beat division you prefer.

Step 2

Click the ‘E’ button to open the Envelopes box located towards the bottom left of the Live’s interface.

Click the Device chooser menu and select Left Deck FX.

Click the Control chooser menu and select Beat Repeat.

Step 3

Working in the Sample Editor, draw in the same automation from the image below. The automation will activate the Fading Beat Repeat rack after launching the Dummy Clip and then deactivate the rack after releasing the Clip Launch button.

Step 4

Repeat the steps above for the Right Out track.

Bada bing bada boom, our Fading Beat Repeat rack is ready for action. Let’s give it a test run by launching the Beat Repeat Dummy Clip while playing back some music.

Creating a DJ Style Dub Delay Rack

The second Audio Effect Rack we will create is used to trigger extended dub-style delays that trickle through a mix adding excitement and movement. This punch-in effect works great during transitions and breakdowns. Check out our Ableton Live Dub Delay tutorial and follow the step-by-step guide on how to create the same dub-style delay effect rack we will use in this tutorial HERE.

Once your Dub Delay rack is ready, drag it over to the Left Deck FX rack and place it before the Limiter. Next, Macro map the Delay On/Off Macro control to any available Macro on the Left Out FX rack and rename it Dub Delay.

Dub Delay Dummy Clip Settings

Let’s continue setting up the Dub Delay rack by moving forward with the configuration of the Dub Delay Dummy Clip in a similar fashion as the previous Rack.

Step 1

Double-click the Dub Delay Dummy Clip to open Clip View.

Click the Launch Mode chooser menu and select Repeat.

Click the Quantization chooser menu and select 1/4.

Step 2

Click the ‘E’ button to open the Envelopes box.

Click the Device chooser menu and select Left Deck FX.

Click the Control chooser menu and select Dub Delay.

Step 3

Working in the Sample Editor, draw in the same automation from the image below. The automation will activate the dub-style delays after launching the Dummy Clip and then slowly fade them out to silence before finally deactivating the rack on its own. There is no need to click and hold the Clip Launch button for this effect. The Dummy Clip does all the work!

Step 4

Repeat the steps above for the Right Out track.

Rub a dub dub, one Dub Delay rack in the tub. Let’s give it a test run by launching the Dub Delay Dummy Clip while playing back some more music from the Before When It Was New EP.

Party’s Over

Nice, that brings the record to a stop for the second tutorial in a series on building a DJ template. The next and final tutorial in the series will focus on building a smart mixing fader for seamless transitions. In the meantime, I encourage you all to experiment with the template, have fun, and impress your fans on the dance floor!

The flagship of our music training, with every Ableton Live course offered at the school. After completing this program, you will leave with a portfolio of original tracks, a remix entered in an active contest, a scored commercial to widen your scope, and the Dubspot Producer’s Certificate in Ableton Live.

What’s Included:

Ableton Live Level 1: Beats, Sketches, and Ideas

Ableton Live Level 2: Analyze, Deconstruct, Recompose, and Assemble

Ableton Live Level 3: Synthesis and Original Sound Creation

Ableton Live Level 4: Advanced Sound Creation

Ableton Live Level 5: Advanced Effect Processing

Ableton Live Level 6: Going Global with your Music

This program is about learning Ableton Live by going through the entire process of being an artist, by developing your own sound through a series of sketches and experimentation. You will also learn the ins and outs of this powerful software through a series of exercises designed to help you master the steps involved in producing your own music. After a level of getting familiar with the tools that Ableton has to offer, you will then develop your sonic ideas into full-length tracks. You will be exposed to a variety of approaches to arrangement and composition, storytelling techniques, ways of creating tension and drama in your music. At the end of the day, it is the sum total of your choices as an artist that define your sound, and levels 2 – 6 will give you the experience of actually completing tracks to add to your portfolio.